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Poster: Jim F Date: May 27, 2011 11:37pm
Forum: GratefulDead Subject: Re: More Avalon Questions

Those jams are legendary, and oddly enough I think I find the shorter one to be the more powerful. Those 2 shows are so special and unique in so many ways, while ironically having identical setlists and nearly identical song lengths.

It may just be another possibly true tale or one with the details mixed up, but I once heard a story about how Latvala was really excited about one of these jams and gave it "Primal Dead" status.

The way I remember it is that one day Dick Latvala was in one of the Grateful Dead offices talking to someone about the concept of certain high-powered jams which he called "Primal Dead" (other examples including things like the "Beautiful Jam," or the entire Watkins Glen soundcheck jam). To let them hear an example, in his usual animated "you GOTTA hear this!" way he put on that closing jam from 10/12(13?). As the story goes, Phil Lesh happened to be around the corner, listening, unbeknownst to Latvala.

I can't remember the point of the story or the context in which being told, but I think it might have had something to do with how the idea for Dick's Picks came about. Maybe Phil told the story about it being an instance where he really became aware of Latvala's passion and knowledge of the music and how they should consult him for releases. Something like that.

I dunno, my point in telling it was that I always think of that story whenever I listen to the Alligator/Caution-ish jam/s from the Avalon. You know something's good when an excited Latvala is playing it for a GD employee to represent the band at their finest.

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Poster: light into ashes Date: May 28, 2011 7:55am
Forum: GratefulDead Subject: Re: More Avalon Questions

That is a true story, and one I used in my Dick Latvala post...

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Poster: Jim F Date: May 28, 2011 11:26pm
Forum: GratefulDead Subject: Re: More Avalon Questions

I figured it was probably in your DL post. Your essays usually so exhaustively include every detail I've ever read or heard that I can't keep track.

And to get back into the "firing," it really is amusing to think of the band listening back to what became Two from the Vault (as well as just about any other show from the era) and thinking "wow this sucks!" If you'd have told them then that in 40 years there would be a cult of people who have every excellent note played in 1968 memorized, catalogued on multiple formats from multiple transfers, and backed up on 5 hard drives, they'd have thought you were crazy. Now, when we look at that Summer 68 period, we think they're the crazy ones for not recording more. Or keeping better track of the recordings, anyway.

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